#as a technique it’s pretty simple

[bestworstcase]

no yeah for sure. i know if it were my show i’d be eyeing the state of the fanon like oh boy. – which tbh v9 does feel to me like it came from a place of “christ okay we need to be more clear” – not that v9 is directly about salem, but she’s the storm on the horizon and they’ve gone back to stating the themes out loud in plain language again. jsfkfj

what i always circle back to when i consider this is that the first thing we hear as the story begins is salem extolling human wisdom, passion, ingenuity, resourcefulness… her tone shifts to ominous threat when she turns to address ozma, but the first impression we get of this character – in soliloquy! – is unadulterated praise for humankind intermixed with some sly digs at ozma’s propagandistic control over the narrative.

and i think that’s going to be a load-bearing pillar in the gradual recontextualization of the lost fable. similar to how the lost fable is preceded by a the volume in which raven keeps saying things like "the truth is hard to come by" and "you need to question everything" and "don’t blindly believe everything you’re told."

at the top of the show, we hear straight from salem’s internal monologue – her thoughts – exactly what she thinks of mankind and what are the qualities she values; and then we get three volumes of occasional abstruse hints suggesting that there’s a Great Evil somewhere out there, and we don’t hear that voice again until the end of v3 when she’s gloating over her horrifying victory. and then we meet her and it’s “don’t pick on cinder fall.” and then we have a few volumes building her up as this enigmatic Great Evil who intends to “change” the world in some nebulous way (or see humanity “crumble at her feet,” raven suggests) before the lost fable hits.

and then in the very next episode there’s the villain-shoots-the-messenger bait-and-switch wherein everyone is palpably expecting salem to disembowel someone because the haven operation went poorly, and instead she does an intimidating little song-and-dance punctuated by an unambiguous moment of sadness when her back is turned and the mask slips, followed by bolting on a stoic mask and going anyway moving on, and when she actually gets mad the first thing she does is kick everyone out of the room so no one is endangered while she tries to calm herself down and no one gets hurt when she fails.

and then in the next volume ironwood is like “without humanity, does she still feel fear? does she ever hesitate? 🤔” blissfully oblivious to the audience having seen salem have, like, a literal panic attack when she heard ozpin reincarnated faster than anticipated. lol. there’s been this perpetual push-pull between what salem herself says and does contrasted against what is said about her by other characters, and in the case of the lost fable this happens literally in back-to-back episodes.

the fandom is pretty dedicated to the calcified fanon built off the statements about her (and supplemented by wildly off base readings of things salem does/says, like the nonsense “salem calls it a semblance because she disdains it as a PATHETIC IMITATION OF REAL MAGIC” genre of takes where insane double standards are invented out of whole cloth) – but i think this is probably less true of general audiences / casual fans. for every stroke the story makes to create this impression of salem as a complete monster, there’s something salem herself does or says that doesn’t fit, and while general audiences are by definition casuals just enjoying the ride, the fact that we have this constant back-and-forth means that pulling back the curtain is less “shocking twist!” and more of a tipping point that should, ideally, bring all these discrete bits and pieces of things salem’s done or said suddenly rushing to the surface like “ooh! i get it!”

<- in some ways i think fandom can be a lot harder of a sell. dedicated fans get very attached to their theories and headcanons in a way that casual enjoyers really don’t. and while the fandom martyr complex with regard to the hatedom would have everybody believe that rwby is the Most Bullied Show In The World, Maligned By Everybody Except Us, The True Fans, rwby is extremely popular and the numbers do not lie. there is a very large general audience of casual enjoyers who are just vibing along having a good time. and those people will be completely fine.

i think most of the fandom that isn’t dedicated salem haters will also be fine – there has been a very noticeable increase in the amount of ‘hey salem had a point’ and ‘hey maybe salem isn’t a complete monster with zero sympathetic qualities’ since i entered the fandom after v8, and especially as the fandom has spent a year now digesting v9. which suggests to me that while the entrenched fanon has an annoying amount of inertia, most folks in the fandom are very persuadable, and as the narrative transitions to putting more and more weight on the ‘things salem says/does’ end of the scale, more and more fans are going to start going “wait… this sounds crazy but hear me out… what if… salem actually isn’t one hundred percent bad???”

(<- already seen a handful of theories in this general vein being floated. for the writers it really is just about continuing to build the momentum until the narrative reaches its tipping point)

for what it’s worth i knew nothing about salem going in other than 1. what she looked like and 2. “you would love her” and for the first five volumes i was very game to believe the “salem is some sort of incredibly ancient and cunning grimm who wants to burn the world down and idk build a dark empire from the ashes, bog standard evil witch behavior” and then i reached 6.2 and sighed internally like “not another fucking woman scorned” and then i watched 6.3 and immediately went “holy shit. so she was right and the resolution is we team up with her to take down the nakedly genocidal gods who’ve been torturing her for eons. got it.” and then by 6.4 i was mentally throwing a party.

which. granted, rwby happens to cater very closely to my exact personal tastes and i think this does predispose me to pick up what it’s putting down with regard to salem – but i do think it speaks to the narrative finesse that the lost fable is meticulously crafted to deliver an impression of salem being the ontological evil and yet is also the episode that makes anyone who’s really tuned in to the story’s themes and/or already inclined to say sure when asked to sympathize with salem have that realization that she was right. it’s holographic – what you see depends on which layer of the story you’re paying attention to – and rwby has consistently been pretty good at turning the audience around like “hey, remember that? look again, here’s something you missed before” in a way that feels exciting and satisfying. (& to general audiences in particular i think that’s probably a big part of the draw – people like stories that surprise them! and rwby delivers that really well.)

i’ve also been pondering a bit in light of the viz acquisition and the much bigger reach rwby now potentially has – if the RT shutdown drama and triumphant return to this larger and more stable platform leads to a large influx of new viewers, which is absolutely within the realm of possibility!, i think the overall slant of the fandom conversation about salem might change very fast – simply because slamming down v1-9 all in one go makes these patterns so much easier to see than getting one new episode per week with long breaks between each volume for as long as a decade depending on how long you’ve stuck with the show. i still vividly remember blazing through v1-8 and then glancing at the fandom and going “hey hi what the fuck are you talking about” every single time i saw a post about salem. gbrdshxjk it’s just a phenomenally different experience!

so who knows. i’m sure there will be some people squalling and moaning because there always are but imo rwby has been setting itself up beautifully to stick the landing since the very beginning. zooming in on that one line it does feel very “holy fuck how do you sell that she meant anything else but what it sounds like” but taken into perspective with everything else… i think it’s more like a fulcrum than a needle to thread. everything else balances on that one point and you just slowly put a little more weight and then a little bit more onto the right side.

if i had to compare it directly to some other narrative arc it’d be ruby’s big breakdown – she’s the shining optimistic character who inspires everyone else and never gives up hope! and we add a tiny bit of weight here, a sliver of weight there, she keeps the mask screwed in place unflaggingly for six volumes before we start to see glimmers of uncertainty leaking through – and then salem brings her to her knees and makes her eyes go haywire with one sentence, and it’s like okay ruby’s feeling the pressure, but look she’s bouncing back! she almost gets cinder! she comes up with a brilliant plan to get amity up! the cracks start to show again and she figures out how to save penny. sure things are bad and she’s feeling the strain, but she’s ruby, she’s gonna pick herself up like always – and then v9 hits like a freight train. there were plenty of folks prior to v9 saying “ruby is going to fucking shatter, this is it” but there were just as many fans during v9 going “holy fuck ruby isn’t okay!?” followed by looking back and going “oh. she’s not been okay for a long time” – same narrative technique.

Your post re: Salem's attitudes towards magic got me thinking about "Why spend our lives trying to redeem these humans, when we can replace them with what they could never be?" from Lost Fable again. I'm finding it a little difficult to blame people for believing she thinks the current crop of humans are just inferior when the only subject on offer in that sentence is "these humans." Of course when you stop to think for two seconds why Salem says or does anything she does it makes total sense that her hangup is with the gods, but that just makes me wonder even more why write the script like that? How unreliable is the direct dialogue in Jinn's vision supposed to be taken vs. her narration? (The simplest read of that episode seems to be of course the narration is biased per the question asked, but otherwise it's a frame narrative for the flashbacks which may or may not be more objective portrayals of events. The fact that the characters are also physically witnessing these scenes means they can't be 100% objective I think, but still leaves open the question of what's skewed and by how much.)

Unreliable or not, it's just a surprisingly absolute statement to put in her mouth considering how often we're invited to question her motivations everywhere else.

i do take the dialogue in the lost fable to be accurate to what the characters said, perhaps with some smudginess if what we’re seeing is ozpin’s memories exactly – in which case the dialogue in scenes he wasn’t present for is suspect because it’s what he imagines was said based on what salem told him, and the rest is probably closely accurate paraphrase because no one could be expected to remember the exact wording of conversations from several thousand years ago! but even then i would expect the parts he was there for to be reliable enough. 

so much rides on the lost fable and specifically this one line that it would be beyond cheap for the resolution to be “she didn’t say that at all, actually.”

the first time i watched the lost fable, i did intuitively interpret that line as salem alluding to the gods – so i think there’s probably some degree of her statement reading as ambiguous or not ambiguous depending upon how one habitually uses the word “redeem.” specifically: how precise one is about the verb requiring an indirect object. 

to ‘redeem’ something means to take some action to settle a debt, or redress a wrongdoing, which—inherently—implies the presence of a creditor or wronged party. in some contexts, the implied creditor is only an abstraction (think “the city’s robust public transportation is its only redeeming quality”—redemption is used here in a figurative sense to mean that the one making the statement dislikes everything but the city’s transit system); and in casual speech it’s fairly common to leave off the indirect object if it isn’t necessary to identify the wronged party (think the common phrasing of “so-and-so redeems themself”).

but while it isn’t incorrect to drop the indirect object, necessarily, there always is an indirect object; it isn’t possible to redeem a debt or a wrong that doesn’t exist, nor to have a debt without a creditor or a wrong without someone wronged. (as an aside, this is why redemption arc discourse tends to always be arguments about forgiveness—redemption does, inherently, definitionally, necessitate forgiveness—and this is also why i’m pedantic about differentiating ‘redemption arc’ vs ‘atonement arc’ vs ‘villain-to-hero arc’ and dislike the popular usage of redemption arc as an umbrella term.)

anyway, in simpler terms: when salem says “redeem these humans,” the apparent meaning of the next clause depends on whether or not one is predisposed to hear that phrase as a clipping and mentally append the implied indirect object, which makes her complete statement “why spend our lives trying to redeem these humans [from my sin in the eyes of the gods] when we could replace them with what they could never be?”

<- and then the question becomes, which “them” is she referring to? “these humans” or the gods who will judge whether redemption has been earned? her elision of the gods is entirely within the realm of common vernacular, and salem is a character who regularly circumlocutes (and earlier in the lost fable itself we have ozma’s quizzical “what are you saying?” signaling that salem’s speech is cryptic or confusing – because ozma doesn’t understand her; this is an intended trait versus the writers fumbling), and she says this in a moment of emotional distress (which she mostly bottles up, but while ozma is explaining all of this to her she’s leaning on the desk with her arms folded, listening intently – this is the same posture she has when she’s huddled in the shadows making herself miserable with conjurations of her children in 8.4).

so there’s quite a bit of weight here on the side of, “salem just discovered that her partner has been manipulating her into serving the gods she abhors throughout their entire relationship, she’s deeply shaken, she isn’t awesome at clearly articulating her thoughts in general; is it really surprising that she might misspeak to the tune of saying ‘them’ in reference to an (elided but necessarily implied) antecedent of ‘the gods’”

it (clearly) isn’t going to occur to most viewers as an obvious interpretation of the line, but i think it’s well within the bounds of what is reasonable for the narrative to later reveal that salem really meant this, particularly given how deliberate and how clear the storytelling themes are. definitely a risk, because some section of the audience is undoubtedly going to feel lied to and cry retcon, but rwby takes creative risks all the time.

and then there’s the ‘fairyales of remnant’ piece of it – the anthology is very much in dialogue with the lost fable across the board (on this see also ‘the two brothers’ presaging the thematic treatment of the brothers in v9, and ozpin’s paired commentaries on ‘the infinite man’ + ‘the girl in the tower’ being discussions of truth, propaganda, and forgiveness). so why does ‘the shallow sea’ begin like this:

Long ago, before the fish had scales, before the birds had feathers, and before the turtles had shells, when our god still walked and crawled and slithered the earth, there were only Humans and animals. (And Grimm. There have always been Grimm. There will always be Grimm. But those creatures don’t figure in this story, so just put them out of your mind, if you can.)

and end like this, after a story about the god of animals leading their chosen people to transform by submersion in magical waters, to the horror of those humans who refuse to change: 

From that moment on, there have been animals, Humans, and Faunus. And the descendants of the Humans who turned away from our god’s great gift have always carried envy in their hearts. To this day, they resent us for reminding them of what they are not and what they never can be.

humans and animals (and grimm) -> animals and humans and faunus, and the last line – the mythic explanation for human hatred of faunus – is a nearly direct repetition of the last thing salem says in the lost fable?

now obviously not everyone can be expected to read ancillary material like the fairytale anthology, and that’s why the shell game with the implied indirect object matters; but it is interesting that ‘the shallow sea’ is stated to be a very old oral tradition (one which “contains deep truths,” no less) and that it repeats that line in a context that is quite plainly not about genocide – but rather cultural pride in the face of intense, often violent, persecution. 

this story also 1. explicitly belongs to a closed tradition, and 2. is (obviously) one ozma knows despite there being no indication that he’s ever reincarnated as a faunus. which – together with the story’s age – adds up to at least the implication that it is possible he heard this story from salem, because the reasons she might be conversant in ancient faunus oral traditions are. well. obvious. 

…and if that’s so, then ‘the shallow sea’ as written in the fairytale anthology completely recontextualizes salem’s last statement in the lost fable as salem quoting from a faunus creation myth both she and ozma knew in order to express her rejection of the brothers’ mandate, which would 1. neatly explain why ozma seems to have understood exactly what she meant even though none of the lost fable witnesses picked up on it, and 2. provide an elegant and very simple opportunity to ease the general audience into this revelation by having a character in vacuo retell this myth, using that same closing line. you don’t even need to mention salem directly – the turn of phrase is memorable enough that a lot of viewers will go “…why does that sound eerily familiar” and that plants a seed for later. (or if you’re going for more of a sudden record scratch moment, salem is the one declaiming.)

from a character standpoint, it also makes a lot of sense for salem to respond to ozma in this way – his liking for stories is, one presumes, not a new thing that developed after the ozlem kingdom’s collapsed, and he also clearly isn’t just cynically using fairytales to deceive and manipulate – else he wouldn’t have apologized to the kids by referencing ‘the girl who fell through the world’ and comparing himself to alyx. stories are just important to him and part of how he communicates.

so if salem heard everything his god told him and then said “no, none of that matters, why spend our lives trying to redeem these humans when we could [paraphrases the conclusion of a story where the hateful envious people who refuse to change are simply sent home and not allowed to live in the harsh but free new world with the people who chose to embrace change]” – she made an effort to say what she meant in his language, and what she meant was either 1. figuratively associating the brothers with the envious humans who were sent home and “these humans” with the faunus who were now free to determine their own fates, or 2. “okay yeah these humans aren’t great, have you considered more faunus as a solution” (<- this would be extremely funny if it turns out the shallow sea is a more literal story than i think it is, but i think it’s much less likely).

more broadly, to the question of why the line is written that way – i can only speculate based on what i would be thinking in the writer’s shoes, and the overall structure of the narrative around salem – but i imagine the absoluteness is sort of the point. it’s meant to be a really shocking and frightening thing to hear coming out of her mouth, while also being, if you pause to think very precisely about what she said, quite plausible as a verbal stumble – the alternative antecedent of “the gods” for “them” is implied and eliding the indirect object of “redeem” is common vernacular – and then there’s this other possibility hinted in an ancillary text that she might have actually been quoting a story as a verbal shorthand both she and ozma understood. 

there’s a narrative expectation that the viewer will be right there with the kids making the same snap judgment about what salem meant – because i think the kids all absolutely did take this at face value as a statement of genocidal intent. the story itself is structured like a nesting doll such that each new revelation appears at a glance to be the whole story, but isn’t and in fact has large gaps and details that don’t add up which become glaringly obvious as soon as you reach the next layer and look back, but if you’re paying careful attention as you go it’s also quite possible to piece together the missing pieces. 

delivering information this way trains the audience (…mostly) to expect that the information we’re given is incomplete and maybe not wholly accurate. the advantage here is that even if the vast majority of the audience is completely blindsided by a specific reveal, for most viewers that’s going to feel really exciting – this happened in v9 with the lore reveals about the brothers, massive overnight reversal in the mainstream fandom views of darkness with the general mood being that it was cool – as opposed to feeling tricked or lied to by a “retcon.”

and that builds up a certain kind of trust, that the story is a puzzle but it isn’t going to cheat. it’s also a bit of a challenge or an invitation for the audience to try to figure out what’s coming, like a mystery.

with salem, i’d bet that one line in the lost fable is supposed to seem weirder and weirder the more you think about it, because… why doesn’t it track with anything she says before that point in the lost fable? why does the story begin with salem waxing poetic about humanity’s virtues? why does the narrative make such a big deal out of nobody knowing what salem wants AFTER the main characters witnessed a seemingly open-and-shut declaration of her “true” intention?

at the same time, the amount of explanation required to argue for an alternate interpretation – even if it’s really not complex or a reach – compared to the ease of just taking the statement exactly at face value, in and of itself is both a misdirection (most of the audience will take the path of least resistance, and hopefully enjoy the journey the story takes them on while leading them to the eventual right answer) and sort of the thesis with respect to the storytelling themes. salem thinks coolsville sucks!

but i am also very willing to consider (because of my own intuitive reaction to the line) that the writers perhaps did not mean for it to seem quite as unambiguous as the general audience and most of the fandom ended up taking it, because if you’re spending a lot of time immersed in a specifically theological context regarding redemption (which the writers probably would’ve been, given the importance of the religious narrative in the lost fable and in relation to this line in particular) – and if you’re also in the habit of being very precise and careful about how you phrase things (which is true of how rwby is written in general) – and if you’re writing what might be the most critical episode in a complicated puzzle box story, whose fulcrum is a red herring that is also meant to provide a clue to anyone who thinks to look at it more closely and with an open mind — then yeah i can see a scenario where the writers may have felt that the specific wording of salem’s statement was more ambiguous than it actually is. in which case the echo in ‘the shallow sea’ might have been a bit of an effort to correct course by giving the subset of fans invested enough to read the fairytales (<- the cohort most likely to be keen to unravel the puzzle) an additional hint. who knows.

[book-lover85]

I need need neeeed Sophie to have some fight with the Neverseen where she just lets go

absolutely no fear she just puts all the skills she already has to use and fucking destroys like 5 members on her own

[unzip-your-guts]

I have a cold so I've been going between doing a bit of packing and mending the big ass holes in these slipper socks

Everyone should learn to darn in my opinion, I've already saved multiple sets of socks from the garbage and it's a nice activity if you're AuDHD like me and can't sit still when you're watching a show or movie

[pangyham]

been thinking about the liyue gang and how id draw their physical builds so here are some thoughts i had for xy cy and gm in particular

- xingqiu, unsurprisingly, would be quite lanky. i like to think he has broad-ish shoulders, like a thin athlete's build? hes a long boy to me haha, long face, neck, limbs, fingers etc, so naturally hes stands (comparatively) tall at 5'6" or 5'7"

i like to think hes most physically attractive one and has that handsome princely and boyish charm to him because it adds a lot to his fuckass duality LOL

- chongyun is a lot like xiao imo! short stature but with muscular arms. he seems nimble and flexible because of his normal attack animations (which bears a lot of similarities to xiao's actually! this + the fact that chongyun's normal attacks create gusts of wind further reinforces my hc that xiao trains him). sometimes i watch high energy choreography vids on youtube and some dancers look incredibly light on their feet, almost like their body is inherently bouncy? and i imagine chongyun to have that agility to him. chongyun has a delicate face and aura and i let that bleed into my hcs for his fighting style and physical capabilities hahaha. hes kind of like a cat who's deceptively strong. as for height.. just a few inches taller than xiao, so perceptibly short at 5'4"

- ga ming my new beloved. pretty much similar to chongyun but more muscular and stronger just because he wields his claymore with ease. theres a noticeable weight different between cy and his claymore the way he lugs it up after he swings (or even other claymore users like razor who, on his last hit, bounces from impact). meanwhile ga ming literally slams his to the ground LOL. i love his movements though hes very swift and expressive and radiant.. if cy has delicate movements then ga ming's is fierce and (charmingly!) assertive

ga ming is wonderfully charismatic though, i know hes not well known in liyue harbor yet, but he seems like the type to gain a reputation from his friendliness. how could no one adore him hahaha. 5'5" for height! just between xy and xq

[bambiraptorx]

I've been thinking about how the turtles are canonically good at singing but bad at playing instruments and why that might be, and honestly it's probably just because human instruments are designed for people who have twice as many fingers

[braceletofteeth]

What's a pretty 🌻 like you doing here in broad daylight?

[vraska-theunseen]

(gets into a hobby that's very complicated and has limited documented instruction for everything i want to learn the farther and more niche i get into it just bc of the nature of a lot of the more complicated things i find are uploaded by one person who didn't make a tutorial) what the fuck. why is this hard

[age736]

cooking up a jjk verse for sun wukong here

[screampied]

First time f!reader face sitting on kento

sitting on nanami’s face for the first time ★

warnings. fem! reader, face sitting + riding, hair pulling, praise, talking you through it, pussy drunk nanami, mdni.

“but—” each of your shy protests only makes nanami’s smile widen as he’s gleefully entrapped between your thighs. you’re hovering, just a few more inches and you’d take your seat right on his face. a thumb of his caress the demure curvature of your hips whilst you’re stammering up what to say next. “but what if you can’t breathe? i- i don’t wanna crush you, ‘ken.”

he brings a damp kiss near the outline of your panties that were lazily tugged towards the side. “honey,” and his entire voice was smooth, lingering with pure silk. mousy, mahogany eyes of his meets yours and he’s so delicate with his fingers. he then drags it to make it roam near your exposed folds, bringing a chaste kiss towards your entrance. “i promise, that’s not gonna happen. ‘m gonna be able to breathe.”

you swallow thickly, feeling a surging pulse within you from how kind he delivered his words—you furrow a brow, pouty expression and all before adding another concern onto your worries, “but-”

“but, i love you,” he chimes in with a soft smile, a thumb running down your sopping slit to make your legs judder. another kiss gets planted against your cunt before he’s just pawing at your thighs to take its inevitable seat on his face. “and i want you,” he continues, watching as you were biting back your own sweet, melodic whimpers. “so allow me,” he purrs, brushing his wedding ring against your swollen folds before giving it a teasing lick. “sit on my face, sweetheart. i got you, ‘n don’t worry about making a mess. i’ll take care of that later, okay?”

a whine spews from your wet parted lips before you finally fall into his lewd embrace— nanami watches with lit eyes as you’re gradually lowering yourself onto his mouth.

“atta girl, my sweet baby,” he coos, and another raw gasp sneaks it way past your lips. once you’re sat all the way down, a few warm breaths from his nose aerates against your sensitive skin. with long fluttering lashes, nanami’s tongue starts to greet your pussy was a striping slurp.

you’re already moaning, trying not to crush him with your drifting weight too hard but that was the very least of his worries. you taste sweet, syrupy slick coats the stubble that’s growing against his chiseled jaw before he lays his tongue flat.

“k-kento,” you’d whine, a fervor making the entire lower parts of your thighs ache already,

with swaying hips, you dig frigid fingers through his hair. whilst your digits comb right through his well kept strands, your maw starts to pry open.

its dangling, cute little pants run out of your lips as you hear the sloppy squelches he’s making against your cunt. his favorite meal, nanami cranes his head a bit to the left,

then, right,

then left.

he repeats this same exactly technique—laid out tip of his tongue prodding against your most tender spots.

nanami was a respectful pussy eater, respectful with a tiny sprinkle of sloppy. momentarily, your lustrous slick starts to coat a sheet right across his mouth. his jaw feels a few tingles every few seconds and a grunt escapes out of him. it was throaty, something as simple as nanami’s groans against your thighs never failed to make you throb again.

pretty browned eyes of his were half lidded—on the verge of closing to sink into pure bliss.

the soft plush of your thighs wraps around him and he’s never felt any more happier. “such a sweet girl,” he murmurs in a raspy tone, bringing a thumb back towards the middle part of your clit. he swipes against the pulsating nub to watch you spasm all on his face. the grip your legs had around his face drove him crazy,

you drove him crazy.

nanami was quite precise—he makes sure to not miss a single spot. with his tongue swirling in and out of your puffy folds, you feel his sucking on your clit accelerate.

a coquettish smile ceases against both sides of his lips before gifting the outer part with yet another kiss. nanami was a simple man—he’d have you suffocate him with his thighs any day.

a trailing string of spit glistens on his lips as he pulls back to breathe—caramel eyes, perfectly dilated in all gives you a hungry stare. “kentoo,” was all you could mutter out, the jerking of your hips approaching quicker.

he finds it cute on how you just couldn’t hold still, just squirming within his firm grasp. you knew with a tongue like his, you weren’t gonna last. it wasn’t rocket science, with the way you steadily oscillate your hips back and forth against his mouth—it snatches another booming groan from him. nanami feels the tent in his pants arise before a right hand of his squeezes your ass. “you’re so good, s-so nasty kento,” you huff, hands still in his hair. tips of your fingers tangle within the musses of his blond, parted hair. as he’s briefly moving his head side to side, enlarged umber pupils locks with yours. “gonna c-cumm.”

“but sweetheart,” he smooches a single kiss towards the inside of your entrance. it’s slick could have been used as exemplary lip gloss against his lips. his tongue effortlessly laps beneath your swollen folds, blowing near the very front of it to watch you squirm. a thumb of his trawls down the puckering opening before air seeps into his thin nostrils. “can’t help but be a little nasty for my wife,” and he’s smothering your entire arousal with many kisses— you feel the pang of a throb kindly erupt within you before your thighs shatter into a million pieces. “especially when she’s this wet for me…goddd just listen to it, listen to her.”

you’re whimpering, jerking against his face and the same sheepish smile that yanks against both sides of his lips remains imprints itself there. his features, the more you stare, the more you wanna ruin his face with your syrupy slick even more. nanami lolls out his clean pink tongue, spiraling the tip against your labia before you hear the sloshes your own cunt produces.

it’s fucking sloppy.. indeed it was, your stomach was in knots and that’s when he brings a hand to give it a light spank.

“oh my,” he seductively purrs, your immediate reaction was to mewl out his name and you only contribute further to the rising boner aching in his pants, stashed away devastatingly in his buckled up work jeans. you’re pulsing right in front of his eyes— pretty pretty pussy, he could stare at it all day. his tongue knows the entire layout, laying flat against your jittery folds before you finally came.

nanami’s brows furrow, a playful smile compressing on his lips as you’re losing yourself. a hand of his rubs in a circular rotation against your sweet. he relishes in your pleasure, unstable hips of yours practically gives out to where he’s holding you upright with a strong hand.

the small jaded like material of his wedding ring brushes against your skin before you whine. with your throat becoming insignificantly dry. your hips stutter and you’re met with the most kindest eyes.

“oh, you’re so gorgeous when you’re a mess for me, my love,” and he’s gentle now. the squashy tips of his fingers tenderly caress against your pussy, gifting it a final kiss as he watches you heave for more full breaths. “ah, such a good girl,” he hums before sliding his tongue across his lips, savoring your slick. “but tell me, i must know. how was it, baby? is this—is this something you’d want me to do more of? allow you to sit on my face?”

he sits up, you’re still straddling his face before replying in a shrilling, “y-yes, please,” and he’s caught by surprise once you give his smooth strands a thirsty tug. with a bottom lip poking out, you whine. “again, ‘ken. can you do it again, please?”

“anything for my wife,” he presses a wet kiss against the crevices of your thigh. you moan, sliding yourself back against his mouth and he shoots you a look of pure softhearted slyness.

“although,” he whispers, stopping himself from digging in. your pouty expression grows, wanting him to just dig in. nanami’s voice pitches a deep huskily low, still soft and sweet before he gives your pussy a gentle passionate kiss just like he does just for you on a daily. after all— in nanami’s mind, your other lips deserved attention too.

with a mere whisper, feverish breath fanning against your sopping opening, he flashes you a devious grin. “how about this time, let’s see if i can make my messy wife squirt.”

[reploidbuddy]

Man sometimes I wish ao3 had some DMs

Not all the time but today absolutely

((oh my god I rambled sm in the tags I reached the 30 limit oh my GOD JFBSJCBJD

[tofupixel]

🌿 How to draw simple grass for a game

Thank you kind asker I will make a tutorial below for grass. I'll do shrubs and trees in another one, because it's a different method and it got pretty long.

🌿 How to draw grass tiles: step-by-step

Each box is 16x16, the same size Stardew Valley uses. Make it tile (how to do it depends on your software) so we can see if our edges match up nicely.

Draw 1 simple blade of grass. Many options for shape but I like this one. Feel free to copy me directly

2. Give it a shadow. Wow !!!

3. Give it a highlight! OMG!

4. Add another grass

5. Do it over and over and over and over and over

Literally just do the same or similar blades of grass, give them all little shadows, highlight a few if you want and there you have it! So easy.

It looks really complicated like this, but its literally just a few steps, repeated over and over.

Many games use this technique and it would be perfectly serviceable for a base grass tile.

Personally, I prefer lower contrast grass. This tile will likely be used for large areas, so ideally you don't want it to be too busy or eye-burning to distract from the character.

🌿 I'll show you how to do a different type of grass now that is a little more complicated.

Midtone grass colour

2. Add some lighter and darker patches touching each other (not too high contrast!)

3. Use this shape (or your preferred, but this is how I did it) on the top edge of your patches. Colour them with the middle colour from each patch.

4. Do it again a lot (this is very tedious)

5. Add some highlights

6. Add some fun extra stuff

We're done! Have fun everyone, show me if you try it!

Pixel Art guide by me: link

[dollerines]

How I entered the void so easily after 1 year of trying

So after 1 year and half of trying to enter I finally did it and I am so mad because it REALLY IS SOOOOO EASY and tbh if in this post you are looking for any sort of validation or info you smart ass already know then please REMEMBER THIS : entering the void is extremely easy. You just have to do it in a way that resonates with you.

Personally for me since I had adhd I couldn’t just stay still and affirm for 1 or even a few for 10 mins. Not just because I was lazy but because just repeating “I am in the void” for so long gets me tired and makes me think of the void more and you actually don’t want to think too deeep about it. I couldn’t wake 3 hours prior and then affirm or even have the patience to do the psych k, yes I was extremely lazy back then and unpresistent but one thing that helped me even backed then was THE ALPHA STATE MEDITATION !

You just have to find what works for you, find a method technique whatever you want to do that doesn’t seem like a chore. So In a post back then I found on @gorgeouslypink acc talking about doing the alpha sate meditation and I tried it back then and I felt really relaxed and it was a good feeling but like I said back then I was realllly lazy so after a few mins I stopped. Then many months later passed and I was still looking for anything and everything on the void. Then just like two days ago I came across another post which was pretty simple and the technique I used was called the DISTRACTED TECHNIQUE.

All there was to do was the usual you get into a comfortable position and then she said to use the alpha state meditation and used the one gorgeouslypink recommended. So I used it and then what she tell you to do is to just think of anything else just get distracted basically and this WAS SO GOOD 4 ME because back then I had adhd so it made it harder to concentrate on just affirming and so yeah I just thought of random things and then at some point where I was completely distracted I felt my body like lift up 😭 if that makes sense I just can’t clearly describe it. It felt really like a shift and I was like ‘panicking’ in a way but I wasn’t actually panicking I just kinda became aware what was going and then I got scared a little but I just relaxed shortly after. Also my fan that was making like a loud noises was coming in an out and then I only hear it in one ear and then I didn’t hear anything and I just stayed there wondering if I reached the void and i actually was!!! I didn’t feel my body it felt like I had no body at all and it was pitch black just like how I imagined the void to be. For a few minutes I just stayed there feeling the most surreal peace I have ever felt. I needed that peace fr 💀.

So then I affirmed for my desires all I said was “I have all my desired results from my subliminal playlist.” Then just to be extra sure I just said “I have everything I want.”

At that point I got really excited and then I wiggled my toes to get out because I was too dam happy I needed to see all my shit the moment I wake up and then I slowly started getting out and when I tell you I cried for like a good dam minute when I woke up and saw how DIFFERENT. My room looked. I literally screamed onto my pillow. I was so dam scare and yet excited to see how I looked.

WHAT I MANIFESTED :

Desired body and face

Having silky straight tailbone length hair cuz mines was originally curly

And everything in my sub playlist

My desired boyfriend and guys I made him be like Gojo Satoru ( because we are all delusional over him 🤪) and let me tell you he is so tall, handsome, sexy and a literal god. He is so silly too 🩷

Moving countries I now live in ny

Never actually meeting my ex and all the people in my old school forget me and have actually never even met me. Like if u asked them about me they have never heard or known me before

Extremely rich rich like hella bands

Got rid of my anxiety and mental health issue

Plus +++

NEVER EVER GIVE UP ON YOUR DREAMS.

Even if the circumstances seem to be eating you alive don’t mind that too much. Even if all seems hopeless don’t give up because you already know nothing can decide or be unless you give it power to be. So stop being goofy and take responsibility and DONT STRESS!! You don’t see God stressing do you. All he has to do is blink and whatever he wants to happen, happens. Plus a lot of confidence came from non dualism that I owe a huge thanks to @trynafindbarbiee she really said it like it is !!

YOU GOT THIS ML 🩷🩷🩷🩷

[harunovella]

*:･ﾟ✧*:･ﾟ✧ love language (verse ii); s.g.

synopsis: when gojo satoru first interacted with you content: teen gojo era, fem!reader, hopeless!romantic gojo, 1k+ words of gojo and reader saving a kitten (a moment straight out of a romcom for sure), not beta read (sorry for any errors!) note: truly didn't think the first part to this anthology series would gain such attention! thank u for that! again, these can be read as a standalone (or connected to this one, but you don't have to read it); enjoy and lmk if u want more!

It was this specific cherry blossom tree Satoru always found you under. The one Kento mentioned the first time he ever asked him about you. If you weren't busy with training or missions, or enjoying life outside the jujutsu world, he found you there. Although there was an array of trees, there was one specific one you seemed to gravitate towards. 

He wasn't sure if it was the specific spot that had good lighting for when you wanted to read or sketch in your little book, or maybe it was the way the roots formed a perfect spot to sit in between... whatever it was, he knew it to be your tree. Even when you weren't around. There was something... welcoming about it. Whenever he walked by with Suguru and Shoko nearby, or whenever he was aimlessly wandering around, he always found himself peeking in its direction, hoping you were sitting underneath it. 

For a confident young man, it took Gojo some time to make his way to you. Claiming to love you when he hadn't even uttered a word in your direction was bold, even going as far as believing you were his soulmate was quite the exaggeration. So why was it hard for him to simply say hello? 

Maybe it was because he wasn't a simple person. Nothing about Gojo Satoru screamed simple. He was anything but that. Yet, a task as easy as that—which came naturally to any other girl around him—was a hassle. Each time he thought he found the courage to step up, he let his racing heart deter him. 

That was until you made the first move. 

It caught him completely off guard, the way you gently tapped his arm from behind, peeking up at him with that sweet smile of yours. His heart did somersaults, his eyes widened behind his round frames, so big that his shades couldn't even hide them. He had been on one of his little walks, new treat in hand that Shoko bribed him with in order to practice her reverse curse technique on him. He was bored, completing his missions and not having much to train on when he already excelled at everything. 

At everything except talking to the girl of his dreams. 

"Hi," you kindly greeted, smile reaching your eyes. Oh, god, you were an angel. A being descended from up above. How could you exist so easily in such a cruel world? He needed to protect you, right? Even if he could see your cursed energy oozing out so brightly. You must've been powerful, something he never considered, always looking at you like you were some little bunny to keep in his pocket... not one who could possibly kick the shit out of him (if he'd let you and he definitely would). "Can you help me out?"

"Pretty..." the words slipped his mouth before he could even process them. Quickly sealing his lips and clearing his throat as you tilted your head, Satoru straightened his back. "What is it?"

Dismissing the sudden word vomit, assuming he was in his own world, you pointed to the left of you. "I sit under those trees, but I keep hearing soft meows coming from one of them. I'm too short to reach... do you think—"

"Yes," the white haired young man instantly nodded as you blinked. Without a second word, he turned on his heel and stalked towards the tree that you claimed your own. 

You, a bit baffled, were unsure as to how exactly he knew which tree you had been pointing at when it was a general direction. Yet, there he was, approaching the tree you were referring to. "It's quite high up, but you're very tall!" You called out before following after him, lightly jogging to catch up before stopping behind him as he eyed the tree. 

In reality, Gojo didn't think any of it through. He just wanted to say yes to be around you, to hear you speak more. Not... to climb up a tree to save a stray kitten. But, whatever made him look better in his eyes, he didn't mind. 

"Be careful!" You exclaimed as you watched him make his way up the tree, no hesitations. You were a bit surprised that someone so easily wanted to help you save a cat. Maybe he liked animals, too?

Or maybe he was a fool madly in love with you—you wouldn't know this yet. 

"Oh, there! You've got 'em!" You clapped as you watched the uniformed young man gently reach for and latch onto the small, white kitten. 

"Ah, don't worry, I'm only here to help you," Gojo said, carefully pulling the kitten towards himself. "I've got you, you're safe now. I just gotta figure out—"

"Watch out!" You shrieked.

"Shit!" Satoru yelped as he lost his balance, clutching the kitten close as he slipped from the branch. Landing with a loud thud, followed by several groans of pain (and pure embarrassment... when did he ever make himself look like a complete fool?!), Gojo rolled around with his eyes closed. 

"Are you alright?!" You panicked, rushing over and kneeling at his side, gently lifting his head with one hand as your other pressed carefully against his shoulder, eyeing his body for any wounds. 

"Agh... dammit..." he grunted, eyes fluttering open and adjusting to the brightness of the sun. Blinking a few times, blurred vision focusing, his heart skipped a beat at the sight of you. Your hair that was usually held back by its ribbon, cascaded around your face as a few strands slipped out from the ponytail. With eyebrows narrowed and a look of worry on his face, Satoru's embarrassment turned into that of timidness. You were engulfed by the sunlight, glowing like the angel you were. "Gosh, you're so pretty..."

"Are you okay?" You asked in a panic, his mumbled words coming off too slurred to understand. "Did you hit your head too hard?"

Shaking his head as he forced himself to sit up, Gojo rolled his shoulders and cracked his neck. "No, 'm fine..." he sighed before looking down at his hands to the kitten. "So is this little guy."

Turning your attention from the white haired young man, to the matching kitten, you gasped, "what a hero!"

Grinning and feeling the heat rise to his cheeks, Gojo shrugged, "eh, ''twas nothing..."

"You almost broke a few bones, though..." you frowned, looking back at him. 

"I'm tough," he brushed off before turning to face you. Now eye to eye, the sudden confidence instantly sizzled away as he gazed at you from up close. A sudden silence weaved between the two of you as your eyes locked, nothing but the sounds of nature and the kittens purring filled the air. "I..."

"Um..."

"You should keep it," Satoru suddenly said, handing you the kitten. "Deserves a nice home."

"Oh, me?" You asked as you took the kitten in your hands, caressing its soft, white fur. 

"Yeah, I wouldn't be a good dad," he chuckled as he rubbed the back of his neck. "You... You'd be a great mom to it, I'm sure."

Eyeing the kitten, then looking back up at him, you smiled, "we can coparent."

At your offer, Gojo gulped. "Co... parent?"

"Yeah, like, help me out with..." lifting the kitten up, you squinted your eyes, "her."

"I... I don't know much about taking care of animals but I can try and help as much as I can," he offered, scratching his head nervously. 

Smiling, you brought the kitten close to your chest, "you saved her from a tree, I'm sure she will remember that."

"Yeah, maybe," Satoru blushed.

Looking down at the kitten as you pet her, listening to her gentle purring, you happily sighed, "what's your name?"

Quickly pointing at himself, the blue eyed boy asked, "mine?"

"Mhm," you nodded. 

"Gojo. Gojo Satoru. You can call me Satoru, though," he nearly blurted out as you chuckled before giving him yours. 

"Well, Satoru," you beamed as he melted at the sound of his name slipping off your tongue, "I think I'll name her after you."

"Wha— Satoru? But... she's a girl?" He tilted his head with furrowed eyebrows. 

"I was thinking of a nickname," you said before looking down at the kitten. "I'll name her Toru. It's cute, right?"

Nodding slowly, then faster, Gojo agreed. "Yeah, Toru is cute."

Lifting your gaze to meet his, you gave him a toothy smile. "Toru it is."

[eternalsa2z]

Realization

Taylor was an intellectual philosopher. Searching for an acute understanding of the meaning of life. The young theorist tried many different techniques of meditation, medication, and mindset changes to find true comprehension of their purpose on this planet. Then one day, like a flash of finality, their mind cleared and the truth filled the void.

"I'm just a dumb dolly!. A sex object! I'm a Toy!"

Toy's body shook with the shock of pure serotonin, its eyes rolling back and tongue lolling out as its mission became clear. Like the bolt of inspiration flashing through its blank head, it was meant to flash its bolt-ons. To fulfill its purpose of filling its pretty plastic set of holes. Its objective was to be objectified.

Toy's subconscious programming was to please others. The simple thought of spending life serving lifeforms left it satisfied and giggling.

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[draconic-desire]

🔹 Oculus Infinitum 🔹

Yandere Satoru Gojo x Reader

He’s infinity; in comparison, you’re nothing. So of course using your cursed technique on him backfires.

Warnings: 18+, MINORS DNI! Yandere behavior, unhealthy relationship, implied kidnapping, forced imprisonment, nsfw, non-con/dub-con, afab!reader, slight mindbreak

Infinity is often interpreted as the largest numerical magnitude to exist. And while that fact may be true in theory, infinity is better defined as the endless division of infinitesimally smaller and smaller values. One can be separated into half, half to a quarter, and so on, until the space between fractions almost ceases to exist.

Almost.

Gojo is a lot like infinity. Blame it on his technique, sure, but you suspect it runs much deeper than that. His actions never reach an end; instead, each one sinks further and further into your skin, fangs so small you barely feel them until it’s too late and the venom irreversibly invades your veins. He’s chipped away at you, piece by little piece, until you are the opposite of infinity; you are nothing.

On a surface level, most would say you have it pretty good. You (are trapped in) live in a huge home, filled with opulent furniture and all the luxuries you could ever want. You’re (expected to) allowed to cook meals for the two of you, including your favorite dishes. You still have (basic rights) privileges, such as free roam of the house, your own selection of clothes, access to the television and your phone (minus the ability to call or text, of course), even outdoor time with Satoru’s supervision. Why would you ever need to leave?

You had escaped, once.

Calling it an escape would be generous. Nothing ever happens without Gojo’s knowledge, without Gojo’s permission. How foolish you had been, to think you could evade his Six Eyes. Despite weeks of planning, he’d dragged you back home within the hour.

The chains hadn’t been removed for an entire month after that, and their lingering presence on each post of Satoru’s bed serves as a constant reminder that they’ll never rust.

Currently, you’re in the (not your, nothing is ever truly yours anymore) house’s lofty kitchen now, preparing dinner for his return home from work. Glancing up at the clock, you see it’s nearly time for him to arrive. You click the stovetop on and place a pot of water over the open flame, watching the blue fire flicker. Your thoughts immediately go to Gojo’s eyes, twin infernos of endless blue. Those eyes never seem to close, never seem to be too far from your own. They have the ability to lock you in place and throw away the key forever.

Moments later, the sound of the door opening and closing, along with the click of multiple locks, echoes from the hallway. Long, casual footsteps alert you to his presence behind you. His velvet voice, so languid and carefree, fans your ear as he settles his hands on your hips. “There’s my girl. Already making dinner for me?” He places a surprisingly chaste kiss to the top of your head. “Missed ya, baby.”

You add rice and a bit of salt and stir the pot in front of you in silence. When did you stop fighting him on that? On losing your full name to simple titles like girl and baby? The old you would have gagged at those pet names. The old you that kicked and bit the hand of your captor like a rabid animal, always fighting for freedom.

His grip tightens when you fail to immediately respond, though you hear him force a light tone to his voice. “What, curse got your tongue?”

Tension immediately floods your muscles. Gojo is a vain man; your silence maims his huge ego, something the most powerful jujutsu sorcerer will not stand for. You must react. “No, Gojo. I was just lost in thought, is all.”

You worry your lip when the quiet drags on. “I-I’m sorry?”

Gojo barks out a laugh, but his smile is strained and all fangs. “Back to Gojo again, huh?”

A mistake you notice too late. The spoon falls from your grip as you turn your head slowly. He’s still wearing his blindfold, but you know those infinite abyssal eyes are currently boring into your soul, daring you to speak. “Ah, no! Satoru, I mean—”

“Shh, baby. I get it.” His hands move to your shoulders, which he begins to massage. “Is it because you’re mad at me for neglecting you?”

To an outsider it may sound like he’s teasing, but you know all too well the creep of annoyance laced into his deepened, husky tone. “Or are you just being a brat?”

Swallowing, you place a hand on his toned forearm in an attempt to calm him. You feel him practically melt into the touch. “Truly, ‘Toru, I’m fine.” Your honeyed tone makes you sick, but you’ve learned it can subtly manipulate your captor in the right setting, usually this domestic fantasy world of his. “You’ve been so busy with work, and my mind has just been wandering. Why don’t you go sit while I finish up with the food?”

He hums absentmindedly, fingers swirling patterns across your abdomen. “I have a better idea…” Hot breath caresses your ear, eliciting a shiver. “Let me make it up to you.”

A deft hand snakes its way down the back of your bare thigh, barely ghosting across your skin. You can feel him, solid as a rock, yet you know there will always be space between you. He can touch you, but you’re powerless to do the same.

Just like in everything else, you can’t hold a candle to him. Your cursed energy is inconsequential, a tiny spark against his infinitive well of power.

Talk of your innate cursed ability is a topic you actively choose to avoid. Your technique, when activated, allows you to briefly control the thoughts and consequent actions of a single individual—but only after you’ve kissed them. And it often backfires tremendously, with the kiss causing overwhelming feelings of obsession or insanity in the receiver. From more than enough uses you’ve learned to see it as more of a curse in and of itself, and one you prefer to keep hidden.

Especially from the man behind you. Gojo—Satoru, you correct yourself—has enough twisted love that you wouldn’t dare try to possess his thoughts. The mere idea makes your throat tighten with panic.

Satoru’s technique, on the other hand, causes every nerve ending along your skin to explode as his hand falls beneath your skirt and skate across your barely clothed core.

“Been thinking about this all day,” he groans. “Are you wet for me, baby?” Before you can respond, Satoru easily moves your panties aside and spears you with his middle and ring fingers.

The invasion makes you jolt instantly. An involuntary gasp leaves you as he presses deeper, his fingers sheathed to the knuckle. You hate how your walls immediately tighten around him, slick with your arousal. No, you don’t want this, but Gojo gives you no choice in the matter but to practically ride his hand as he lifts your skirt with his other hand to get a better view.

“I’ll never get tired of this.” His thumb passes over your clit, pulling yet another shameful moan from your lips. Your tense demeanor only causes your pussy to accidentally squeeze him tighter, spurring him on. You try to pull your thighs together, but Satoru wrenches them apart easily with his other hand. “Oh, no, none of that. This pussy is mine.”

You squirm, grasping for something to get you out of this mess. “Satoru, stop, the food will burn—”

“Forget it,” he commands, ripping your skirt off. “We’ll order takeout after.”

Your heart drops. “After…?”

“Aw, you thought I’d stop here?” His condescension floods your ears. “No, babe, I’m only just getting started with you.”

His persistence, like infinity, has no end.

Without warning, Satoru removes his fingers from your core and swings you over his shoulder, smacking your bare ass and wrenching a yelp from you. You blanch when you realize he’s carrying you to the bedroom.

“Wait, Satoru—!”

You are unceremoniously thrown onto the bed, said white-haired sorcerer towering above you. He pounces immediately, locking your limbs in place. Satoru must see the fear, the readiness to engage in fight or flight, across your face, because he brushes a tender hand across your cheek to wipe away a tear you didn’t realize had fallen.

“Don’t tell me you’re scared,” he teases, but it somehow sounds like a threat. His fingers, still coated with your arousal, hook around your thong and slide it down your legs. “You’re acting like this is our first time or somethin'.”

Oh, it was far from the first time that he had touched you or been inside of you. But something about today, about this time, sends fear skittering across your whole being. Perhaps it’s all the reminiscence lately, or the fact that your thoughts drifted to your innate technique for the first time in weeks. Panic sinks its claws into you.

Breath ragged, heart pounding, you grab his face in both hands and react without thinking; for the first time since he kidnapped you, you willingly kiss Satoru Gojo and activate your technique.

Satoru immediately reacts, deepening the kiss and pressing you more firmly into the mattress until you feel as if you’re nearly suffocating.

Release me, you project into his mind, threading a hand through his white locks and squeezing hard.

The world suddenly goes very, very still.

Satoru freezes. Slowly, painfully, he parts his lips from your own and straightens his arms against the mattress to hover above you once more. His breath comes out in jagged huffs. The only sound that remains is the unending tick, tick, tick of the clock on the wall, bringing you closer to your doom.

For a second, you almost believe your technique worked.

That is, until he quickly sheds his blindfold, and you are meet with those stunning, terrifying, brilliant, paralyzing blues. He whispers your name with a foreign stillness that chills your bones to ice. “Do you…have a cursed technique?”

What an idiot you are to have thought you could sneak past Satoru Gojo’s barriers and Six Eyes. You can’t touch his physical form; why would his mind be any different?

It takes all of your willpower to withhold the panicked, hysterical laugh threatening to escape you. “Look, I can explain—”

Satoru leans back on his knees, one hand carding through his hair as he looks up to the ceiling. “God, babe, I knew you could see curses and harbored cursed energy, but here you go surprising me!” He laughs, a gleeful chuckle that has you reeling.

“You’re not…mad?” you dare to ask, inching your knees towards your chest. Maybe your technique failed, but you can still buy some time and get into a safer position.

Satoru gazes down at you, head tilted and a full grin on his lips. “Mad? Baby, why would I be upset when for the first time in our relationship, you were the one seducing me?”

Oh, no. No no no no no.

Grabbing your ankle, he drags you back to a supine position, your pussy on full display for him. He licks his lips at the sight. “Plus, you trying to get inside my head was cute and all. Weak, but you gave it your best!” He laughs again, and you realize that he never took you seriously, not even for a second.

The thought should enrage you—it would have infuriated the old you—but all you can manage now is a low whine as his hands go for his belt.

Satoru pulls himself free, his already hard cock pulsing in anticipation. Precum beads at the tip as he lines himself up with your entrance. “What was it you asked me for? Release, right?”

Your eyes bulge at his implication. “Wait, Satoru, I didn’t mean—!”

You barely have time to react as he buries himself in you completely. A choked sob bubbles up your throat as you breath through the stretch of him.

Satoru moans in ecstasy as he begins a steady pace, thrusting mercilessly into that squishy spot deep inside your core that has you seeing stars.

“Kiss me again.” It’s light and breathless, but it’s an order, not a request. Fear makes you comply immediately, though your kiss is a hesitant, timid thing compared to your earlier attempt to sway him.

He’s having none of that. No, Satoru had a taste of your affection, and now he’ll tolerate nothing less than your full reciprocation. If only you could truly peer into his mind and see that no amount of your cursed energy would change him; your being was already permanently imprinted on his brain. You were his perfect doll, held in the palm of his hand.

Nails rake down his back as you arch against the mattress. Every time he thrusts, he grinds against your clit, and you feel yourself chasing your finish. You hate this, you want it to stop, but you can’t help—

“Please, Satoru,” you plead without thinking, meeting his limitless eyes. You feel yourself drowning in them, a blue sky that never ceases.

For a split second, his rhythm hesitates. “…Say that again,” he whispers, almost reverently. “Beg for me.”

You’re not quite sure what you’re asking for. “P-please, I can’t take it anymore, please let me—!”

“Choose your next word carefully,” he warns, voice shifting to a low growl as his hand moves to your throat, adding ever so much pressure.

Tears streak your vision. The embarrassment of your technique failing and the lewd position he has you in all crash down upon you, and another piece of you breaks. “Please let me cum,” you concede.

To your dismay, his pace slows, and you cry out in protest as your orgasm fades. “I just need you to do one more thing for me, baby.” He leans into your neck, nipping and sucking at all your sensitive spots, torturing you even further. “Tell me you love me.”

Alarms should be blazing through your head, but the fog of your arousal clouds your judgement as you seek your climax.

That piece of your soul he took shatters into a million shards as you whisper, “I love you, Satoru.”

The two of you shatter simultaneously. You register all too late the warmth invading your core as Satoru pumps his cum deep inside you.

He’s never come in you before.

Your name is murmured over and over like a prayer against your neck—or maybe it’s a curse. You jolt in overstimulation when he pulls out and bends down to place a kiss against your puffy folds. “So good for me, baby. This perfect pussy belongs to me.”

He kisses you a final time, long and slow. When he pulls away, a languid smile sweeps across his features. “You’re all mine, (Y/n). Even your mind.”

With the use of your innate technique, you’ve dug your own grave for good. Satoru will never let you go now.

After all, infinity is indivisible.